Poetic two-hander The Half God of Rainfall combines epic myth, family relationships and gender politics in an exciting evening.
In the same way that the Marvel Universe mixes superpowers with mortal flaws, the scope of The Half God of Rainfall stretches to another galaxy but all the time remains profoundly human.
Actress Rakie Ayola chatted to us about her current role in The Half God of Rainfall at the Kiln Theatre.
Barber Shop Chronicles is a celebration of friendship, tradition and heritage. Ellams skilfully toes the line between sentiment, gaucheness, sincerity and wit while exploring issues of racial, social and gender identity with a keen eye for human foibles.
Barber Shop Chronicles is a hugely impressive production. Life-affirming and vivid. Putting lives on stage which have not been seen there before.
Gershwyn Eustache Jnr, Leah Harvey and Aisling Loftus lead the cast of Small Island, adapted by Helen Edmundson from Andrea Levy’s prize-winning novel, directed by Rufus Norris in the Olivier Theatre, as part of the National Theatre’s new season.
Rufus Norris has unveiled the National Theatre’s plans for 2019 and beyond. Highlights include the world premiere of Small Island adapted by Helen Edmundson from Andrea Levy’s novel, directed by Rufus Norris.
Kiln Theatre’s artistic director Indhu Rubasingham has today announced that Inua Ellams’ The Half God of Rainfall joins the line-up for the opening season.
At the centre of the show is Arinzé Kene himself. Having just finished his part in Conor McPherson’s Girl from the North Country in the West End, he devotes all of his considerable charisma to this meditation on the race politics of storytelling.
That it is sold out shouldn’t stop you from trying to get tickets – there’s Friday Rush and there’s refreshing this page in case of returns, and boy is it worth it.
Random and topical thoughts and quotes gathered by My Theatre Mates contributor Aleks Sierz, first published on www.sierz.co.uk.
Black theatre used to be one of most creative aspects of contemporary British drama. But recently a lot of the impetus behind plays by black playwrights seems to have dried up. The great names of the past couple of decades are either silent, or, which is worse, merely repeating themselves.
The hugely convivial pre-show entertainment for Barber Shop Chronicles is such good fun that I thought to myself I could easily just watch this for an hour. As it turned out, press night delays meant that it was extended by about thirty minutes, during which you really got to appreciate how quietly radical it is.
A quote by Naguib Mahfouz resonates with Ellams’ story, “Home is not where you are born; home is where all your attempts to escape cease”. Ellams and his tightknit family are constantly attempting to escape, to belong.
Keeping on top of reviews is a challenge at the best of times, so throwing in a whole bunch of festival shows from the Vaults makes time management even more challenging. So I’m opting to round up shorter reviews of what I’ve seen in the week into a single post.
artistic director Rufus Norris announced the flagship institution’s 2017 season which will include four world premieres – including a current work-in-progress on the state of Brexit Britain – two European premieres and new work by Inua Ellams, Yaёl Farber, DC Moore, Lindsey Ferrentino and Nina Raine.
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